Review Summary: Sombre. Graceful. Apocalyptic.
The process of transposing emotion into musical form is the essence of the songwriter’s job. Those familiar feelings, manifest a million times a day or maybe once in a lifetime, purged onto tablature in a coherent, instantly understandable musical mood. Although artists have tried a myriad different methods of this interpretation, true emotional chords are only struck when every element of the music assembles into a lucid whole; a well-oiled machine from tone to instrumentation, production to songwriting, vocal delivery to lyrics. mewithoutYou’s backcatalogue boasts a meticulously penned and deliberately arranged roster of songs that not only tap into a certain emotion at any given time, but legitimately transpose the feeling to the listener, through a careful amalgamation of broad musicality, varied vocal performance, and flawless construction. With
Pale Horses, the group appear to draw a line in the sand; the title, cover art and themes all feel distinctly darker than previous efforts, but whilst the band has always played heavy with themes of life, death and everything in between, only on
Pale Horses does the release feel almost weighted down by the sombre tone. As a result, the release is thoughtful, serious, and beautifully candid; all of the traits the band are known for, only now with an added layer of stark objectivity. In short, it is realistic in approach, yet utterly fantastical in execution- a balance found. mewithoutYou’s greatest feat was convincing the world they sang with emotion, when really what they display is the emotion itself.
To longtime listeners, the sound will be immediately recognizable. Opener ‘Pale Horse’ is a sombre and restrained hymn that betrays the wilting angst bubbling just underneath the surface within seconds of the album's beginning. The production is thick and the vocals distorted, but the music itself is simple and anthemic, forming an introductory track that sets pace for what follows, but also eases the listener into the depths before it comes time to dive. As with all mewithoutYou releases, the album is a varied display of wide-eyed clarity, troubling vitriol and dreamlike calm, and every aspect of this emotionally charged approach is performed with a sincere passion. Tracks such as ‘Lilac Queen’ and ‘Dorothy’ display an array of delicate melodies and balanced songwriting, asserting that even though a good deal of these compositions are objectively simple, the strength of the songwriting and passion therein is so robust that the songs simply click. ‘Lilac Queen’, for instance, begins with a ballad-like feeling to its basic tune and maudlin delivery- the emotion true and downplayed. This soon changes around the mid-point, when all aspects of the track are recalled and the second movement begins. The melodies become more pronounced, the vocals become stronger and the performance more earnest- the crescendo a dramatic cavalcade of hope and exhaustion. The truly amazing thing about this song in particular is despite the distinctness of the composition’s two halves, the mood throughout is consistent. This displays a deep understanding of the band’s musical craft; a comprehension of their secret ingredient that renders their marriage of emotion and music so faultless.
The undeniable religious overtones of the release do loan the experience a certain amount of framework, but these themes are explored gently, both metaphorically and candidly. Regardless of a listener’s personal preference,
Pale Horses is objective and neutral, reaching into a selection of parables and stories taken from faiths around the globe, and instilling them with a modern sense of criticism but also a human relatability in matters of faith, hope, dreams and the common man. To this end, tracks such as ‘Dorothy’ and ‘Blue Hen’ do feel somewhat clerical in their execution, but the beautiful melodies and poetic lyricism frames them as profound, rather than preachy. On the opposite end of the spectrum, songs such as ‘Mexican War Streets’ and ‘Watermelon Ascot’, with its distinctly raga-influenced later section, are livelier but still no less solemn, despite their distinctly more indie-rock sound that is far more pronounced than on the release’s other tracks. The understated nature of the music is bolstered hugely by the tone of the release, as all motifs and melodies, no matter how insignificant, are highlighted by the sense of yearning that courses throughout; an aspect assisted in no small part by the breathtaking vocal performance. The outro of ‘D-Minor’, a beautiful choral harmony backed up with rhythmic but individual instrumentation, is a reverend and almost philosophical expression of sober clarity, as it is declared in mantra, “This is not the first time God has died”. Evocative, heartfelt, and completely believable. Similarly, ‘Magic Lantern Days’ showcases a wonderfully warm vibe through its lyrics, as the instrumentation pads carefully alongside in prominent low notes and brief highs, a display of deceptive complexity on the part of the band.
It should come as no surprise by now that mewithoutYou continue to release quality music. One foot in indie rock, one foot in post-hardcore, the outfit have etched their name into the ranks of cult rock’s elite, adored by fans and critics alike. The real surprise with
Pale Horses is that mewithoutYou are still trying new things. This can be easily dismissed, as the record does definitely feel and sound like a mewithoutYou release, but with an indescribable quality that makes it stand apart; a sense of finality. Themes flit from fantastical to commonplace, but the ethereal production and serious tone allow the songs to resonate in a way that can sometimes be quite uncomfortable, almost like a swansong. Final track ‘Rainbow Signs’ is testament to this; slow strains, whispered vocals, a slowly whining distortion in the background, followed by an aggressive shunt into screaming electric guitars and the most violent vocal display on the album. The emotion is thick, raw and prominent over everything else, and this is abundantly clear and troublingly relateable. Throughout the whole experience, the reaction is not one of toe-tapping, head-bobbing catchiness, but rather a thoughtful appreciation for the insight herein, both contained in the music and the lyrical content. That the music is wonderful and a must for any fans of the genre is undebatable, but for those willing to accept the album and completely give themselves over to it, they will discover that it runs even deeper; this is emotion, manifest, to be experienced at any time. A monument to human existence, experience, and faith.
